American Cinematographer - February 2010 - 62

◗ Working With the Red Probst also used the Red One on a pair of commercials for Honda (right) and HP (below). Both spots were shot using Build 20. film is moot. Also, CF cards do place limits on the recording speed/resolution that can be used; a 16GB CF card will not allow shooting 2K 120 fps using Redcode 36, whereas Red Drives and RedRAM drives support that. Red Drives offer substantially longer recording times; you can definitely outrun even the longest filmload scenario, with more than 120 minutes of capture time available at 4K. But there is a catch: If you are in a very jarring environment, or even if you’re just around loud sounds, you might experience a number of dropped 62 February 2010 frames while recording your data to a Red Drive. On one of my Red projects, a commercial, the sound of the talent yelling in a room created hundreds of dropped frames. The incident could have gone unnoticed if the assistant hadn’t been keeping an eye on the onboard monitor while the monitor was not “zoomed in.” (When “zoomed in,” you lose the data-display information on the onboard monitor that shows dropped frames have occurred during a take.) It’s ironic that the Red is so often used to shoot music videos, where loud playback is the norm. It is somewhat frustrating that if we don’t American Cinematographer want to risk dropped frames with the Red Drive, we must either switch to the shorter-record-length CF cards or acquire RedRAM drives, the most expensive recording option. The RedRAM drive utilizes the same solid-state technology as CF cards, internally arraying a number of laptop flash drives together to allow up to 40 minutes of 4K Redcode Raw information. The catch is that the RedRAM drive is approximately five times more expensive than a standard Red Drive and roughly nine times more expensive than a 16GB Red CF card. However, many filmmakers find that the long recording time and comparative stability around vibrations make this the best recording option of the three. A discussion of the Red One’s qualities would be incomplete if it didn’t touch upon the resolution/ compression options the system offers. It is remarkable that Jim Jannard was able to bring a 4K camera to the market at a price point accessible to almost everyone, but the adage, “If it sounds too good to be true, it probably is,” comes to mind. In order to discuss the Red One’s resolution, it is first necessary to discuss the system’s Mysterium Bayer-pattern CMOS sensor.

American Cinematographer - February 2010

Table of Contents for the Digital Edition of American Cinematographer - February 2010

American Cinematographer - February 2010
Contents
Editor’s Note
President’s Desk
Short Takes: What’s in the Box?
Production Slate: Fish Tank • Dollhouse
Bad Moon Rising
Artistry and Conscience
Working With the Red
Terror in Technicolor
Post Focus: Offhollywood Digital
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam: Marc E. Reshovsky, ASC
Clubhouse News
ASC Close-Up: Paul Cameron
American Cinematographer - February 2010 - American Cinematographer - February 2010
American Cinematographer - February 2010 - Cover2
American Cinematographer - February 2010 - 1
American Cinematographer - February 2010 - 2
American Cinematographer - February 2010 - Contents
American Cinematographer - February 2010 - 4
American Cinematographer - February 2010 - 5
American Cinematographer - February 2010 - 6
American Cinematographer - February 2010 - 7
American Cinematographer - February 2010 - Editor’s Note
American Cinematographer - February 2010 - 9
American Cinematographer - February 2010 - President’s Desk
American Cinematographer - February 2010 - 11
American Cinematographer - February 2010 - Short Takes: What’s in the Box?
American Cinematographer - February 2010 - 13
American Cinematographer - February 2010 - 14
American Cinematographer - February 2010 - 15
American Cinematographer - February 2010 - 16
American Cinematographer - February 2010 - 17
American Cinematographer - February 2010 - Production Slate: Fish Tank • Dollhouse
American Cinematographer - February 2010 - 19
American Cinematographer - February 2010 - 20
American Cinematographer - February 2010 - 21
American Cinematographer - February 2010 - 22
American Cinematographer - February 2010 - 23
American Cinematographer - February 2010 - 24
American Cinematographer - February 2010 - 25
American Cinematographer - February 2010 - 26
American Cinematographer - February 2010 - 27
American Cinematographer - February 2010 - 28
American Cinematographer - February 2010 - 29
American Cinematographer - February 2010 - 30
American Cinematographer - February 2010 - 31
American Cinematographer - February 2010 - Bad Moon Rising
American Cinematographer - February 2010 - 33
American Cinematographer - February 2010 - 34
American Cinematographer - February 2010 - 35
American Cinematographer - February 2010 - 36
American Cinematographer - February 2010 - 36A
American Cinematographer - February 2010 - 36B
American Cinematographer - February 2010 - 37
American Cinematographer - February 2010 - 38
American Cinematographer - February 2010 - 39
American Cinematographer - February 2010 - 40
American Cinematographer - February 2010 - 41
American Cinematographer - February 2010 - 42
American Cinematographer - February 2010 - 43
American Cinematographer - February 2010 - 44
American Cinematographer - February 2010 - 45
American Cinematographer - February 2010 - Artistry and Conscience
American Cinematographer - February 2010 - 47
American Cinematographer - February 2010 - 48
American Cinematographer - February 2010 - 49
American Cinematographer - February 2010 - 50
American Cinematographer - February 2010 - 51
American Cinematographer - February 2010 - 52
American Cinematographer - February 2010 - 53
American Cinematographer - February 2010 - 54
American Cinematographer - February 2010 - 55
American Cinematographer - February 2010 - Working With the Red
American Cinematographer - February 2010 - 57
American Cinematographer - February 2010 - 58
American Cinematographer - February 2010 - 59
American Cinematographer - February 2010 - 60
American Cinematographer - February 2010 - 61
American Cinematographer - February 2010 - 62
American Cinematographer - February 2010 - 63
American Cinematographer - February 2010 - 64
American Cinematographer - February 2010 - 65
American Cinematographer - February 2010 - 66
American Cinematographer - February 2010 - 67
American Cinematographer - February 2010 - Terror in Technicolor
American Cinematographer - February 2010 - 69
American Cinematographer - February 2010 - 70
American Cinematographer - February 2010 - 71
American Cinematographer - February 2010 - 72
American Cinematographer - February 2010 - 73
American Cinematographer - February 2010 - 74
American Cinematographer - February 2010 - 75
American Cinematographer - February 2010 - 76
American Cinematographer - February 2010 - 77
American Cinematographer - February 2010 - Post Focus: Offhollywood Digital
American Cinematographer - February 2010 - 79
American Cinematographer - February 2010 - 80
American Cinematographer - February 2010 - 81
American Cinematographer - February 2010 - New Products & Services
American Cinematographer - February 2010 - 83
American Cinematographer - February 2010 - 84
American Cinematographer - February 2010 - 85
American Cinematographer - February 2010 - 86
American Cinematographer - February 2010 - 87
American Cinematographer - February 2010 - International Marketplace
American Cinematographer - February 2010 - 89
American Cinematographer - February 2010 - Ad Index
American Cinematographer - February 2010 - 91
American Cinematographer - February 2010 - In Memoriam: Marc E. Reshovsky, ASC
American Cinematographer - February 2010 - 93
American Cinematographer - February 2010 - Clubhouse News
American Cinematographer - February 2010 - 95
American Cinematographer - February 2010 - ASC Close-Up: Paul Cameron
American Cinematographer - February 2010 - Cover3
American Cinematographer - February 2010 - Cover4
https://www.nxtbook.com/nxtbooks/ac/ac1218_v2
https://www.nxtbook.com/nxtbooks/ac/ac1118_v2
https://www.nxtbook.com/nxtbooks/ac/ac1018_v2
https://www.nxtbook.com/nxtbooks/ac/ac0918_v2
https://www.nxtbook.com/nxtbooks/ac/ac0818_v2
https://www.nxtbook.com/nxtbooks/ac/ac0718_v2
https://www.nxtbook.com/nxtbooks/ac/ac0618_v2
https://www.nxtbook.com/nxtbooks/ac/ac0518_v2
https://www.nxtbook.com/nxtbooks/ac/ac0418_v2
https://www.nxtbook.com/nxtbooks/ac/ac0318_v2
https://www.nxtbook.com/nxtbooks/ac/ac0218_v2
https://www.nxtbook.com/nxtbooks/ac/ac0118_v2
https://www.nxtbook.com/nxtbooks/ac/ac1217_v2
https://www.nxtbook.com/nxtbooks/ac/ac1117_v2
https://www.nxtbook.com/nxtbooks/ac/ac1017_v2
https://www.nxtbook.com/nxtbooks/ac/ac0917_v2
https://www.nxtbook.com/nxtbooks/ac/ac0817_v2
https://www.nxtbook.com/nxtbooks/ac/ac0717_v2
https://www.nxtbook.com/nxtbooks/ac/ac0617_v2
https://www.nxtbook.com/nxtbooks/ac/ac0517_v2
https://www.nxtbook.com/nxtbooks/ac/ac0417_v2
https://www.nxtbook.com/nxtbooks/ac/ac0317_v2
https://www.nxtbook.com/nxtbooks/ac/ac0217_v2
https://www.nxtbook.com/nxtbooks/ac/ac0117_v2
https://www.nxtbook.com/nxtbooks/ac/ac1216_v2
https://www.nxtbook.com/nxtbooks/ac/ac1116_v2
https://www.nxtbook.com/nxtbooks/ac/ac1016_v2
https://www.nxtbook.com/nxtbooks/ac/ac0916_v2
https://www.nxtbook.com/nxtbooks/ac/ac0816_v2
https://www.nxtbook.com/nxtbooks/ac/ac0716_v2
https://www.nxtbook.com/nxtbooks/ac/ac0616_v2
https://www.nxtbook.com/nxtbooks/ac/ac0516_v2
https://www.nxtbook.com/nxtbooks/ac/ac0416_v2
https://www.nxtbook.com/nxtbooks/ac/ac0316_v2
https://www.nxtbook.com/nxtbooks/ac/ac0216_v2
https://www.nxtbook.com/nxtbooks/ac/ac0116_v2
https://www.nxtbook.com/nxtbooks/ac/ac1215_v2
https://www.nxtbook.com/nxtbooks/ac/ac1115_v2
https://www.nxtbook.com/nxtbooks/ac/ac1015_v2
https://www.nxtbook.com/nxtbooks/ac/ac0915_v2
https://www.nxtbook.com/nxtbooks/ac/ac0815_v2
https://www.nxtbook.com/nxtbooks/ac/ac0715_v2
https://www.nxtbook.com/nxtbooks/ac/ac0615_v2
https://www.nxtbook.com/nxtbooks/ac/ac0515_v2
https://www.nxtbook.com/nxtbooks/ac/ac0415_v2
https://www.nxtbook.com/nxtbooks/ac/ac0315_v2
https://www.nxtbook.com/nxtbooks/ac/ac0215_v2
https://www.nxtbook.com/nxtbooks/ac/ac0115_v2
https://www.nxtbook.com/nxtbooks/ac/ac1214
https://www.nxtbook.com/nxtbooks/ac/ac1114
https://www.nxtbook.com/nxtbooks/ac/ac1014
https://www.nxtbook.com/nxtbooks/ac/ac0914
https://www.nxtbook.com/nxtbooks/ac/ac0814
https://www.nxtbook.com/nxtbooks/ac/ac0714
https://www.nxtbook.com/nxtbooks/ac/ac0614
https://www.nxtbook.com/nxtbooks/ac/ac0514
https://www.nxtbook.com/nxtbooks/ac/ac0414
https://www.nxtbook.com/nxtbooks/ac/ac0314
https://www.nxtbook.com/nxtbooks/ac/ac0214
https://www.nxtbook.com/nxtbooks/ac/ac0114
https://www.nxtbook.com/nxtbooks/ac/ac1213
https://www.nxtbook.com/nxtbooks/ac/ac1113
https://www.nxtbook.com/nxtbooks/ac/ac1013
https://www.nxtbook.com/nxtbooks/ac/ac0913
https://www.nxtbook.com/nxtbooks/ac/ac0813
https://www.nxtbook.com/nxtbooks/ac/ac0713
https://www.nxtbook.com/nxtbooks/ac/ac0613
https://www.nxtbook.com/nxtbooks/ac/ac0513
https://www.nxtbook.com/nxtbooks/ac/ac0413
https://www.nxtbook.com/nxtbooks/ac/ac0313
https://www.nxtbook.com/nxtbooks/ac/ac0213
https://www.nxtbook.com/nxtbooks/ac/ac0113
https://www.nxtbook.com/nxtbooks/ac/ac1212
https://www.nxtbook.com/nxtbooks/ac/ac1112
https://www.nxtbook.com/nxtbooks/ac/ac1012
https://www.nxtbook.com/nxtbooks/ac/ac0912
https://www.nxtbook.com/nxtbooks/ac/ac0812
https://www.nxtbook.com/nxtbooks/ac/ac0712
https://www.nxtbook.com/nxtbooks/ac/ac0612
https://www.nxtbook.com/nxtbooks/ac/ac0512
https://www.nxtbook.com/nxtbooks/ac/ac0412
https://www.nxtbook.com/nxtbooks/ac/ac0312
https://www.nxtbook.com/nxtbooks/ac/ac0212
https://www.nxtbook.com/nxtbooks/ac/ac0112
https://www.nxtbook.com/nxtbooks/ac/ac1211
https://www.nxtbook.com/nxtbooks/ac/ac1111
https://www.nxtbook.com/nxtbooks/ac/ac1011
https://www.nxtbook.com/nxtbooks/ac/ac0911
https://www.nxtbook.com/nxtbooks/ac/ac0811
https://www.nxtbook.com/nxtbooks/ac/ac0711
https://www.nxtbook.com/nxtbooks/ac/ac0611
https://www.nxtbook.com/nxtbooks/ac/ac0511
https://www.nxtbook.com/nxtbooks/ac/ac0411
https://www.nxtbook.com/nxtbooks/ac/ac0311
https://www.nxtbook.com/nxtbooks/ac/ac0211
https://www.nxtbook.com/nxtbooks/ac/ac0111
https://www.nxtbook.com/nxtbooks/ac/ac1210
https://www.nxtbook.com/nxtbooks/ac/ac1110
https://www.nxtbook.com/nxtbooks/ac/ac1010
https://www.nxtbook.com/nxtbooks/ac/ac0910
https://www.nxtbook.com/nxtbooks/ac/ac0810
https://www.nxtbook.com/nxtbooks/ac/ac0710
https://www.nxtbook.com/nxtbooks/ac/ac0610
https://www.nxtbook.com/nxtbooks/ac/ac0510
https://www.nxtbook.com/nxtbooks/ac/ac0410
https://www.nxtbook.com/nxtbooks/ac/ac0310
https://www.nxtbook.com/nxtbooks/ac/ac0210
https://www.nxtbook.com/nxtbooks/ac/ac0110
https://www.nxtbookmedia.com